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UXILIA    VERGILIANA 


OR, 


FIRST  STEPS  IN  LATIN  PROSODY. 


-KK>>©iO 


BOSTON: 
GINN    AND    HEATH,    PURLTSHERS, 

1879. 


AUXILIA    VERGILIANA; 


FIRST  STEPS  IN  LATIN  PROSODY. 


4| 

-oo>e<o-o 1 


BOSTON: 

GINN   AND   HEATH,   PUBLISHERS. 

1879. 


7.^ 


NOTE  TO  TEACHERS. 


I  THINK  that  many  make  a  false  beginning  in  their  Vergil, 
or  Ovid,  by  not  beginning  it  as  poetry.  While  the  first 
month's  reading-lessons  are  progressing,  the  pupil  is  learning 
prosody  from  the  grammar.  Until  this  is  done,  an  initiation 
into  the  mysteries  of  scanning  and  proving  is  deferred.  One 
or  tviro  books  of  Vergil  —  often  more  —  are  accordingly  read 
with  as  much  indifference  to  metre  and  rhythm  as  if  they 
were  so  many  books  of  Caesar.  The  only  difference  that 
this  method  enables  a  pupil  to  discern  between  prose  and 
poetry  is,  that  poetry  allows  what  seems  to  him  a  much 
more  blind  and  confused  arrangement  of  words. 

A  poetical  author  ought  to  be  treated  as  such  from  the 
outset,  and  no  false  dealing  with  the  subject  should  be 
allowed.  To  facilitate  a  true  beginning  by  abridging  and 
simplifying  the  introductory  lessons  is  the  object  of  this 
primer,  which,  I  recommend,  should  be  mastered  before 
commencing  to  read  "Arma  virumque,"  or  "Ante  mare  et 
tellus." 

The  old-fashioned  prosody,  with  its  long  lists  of  excep- 
tions, used  to  be  a  tough  knot  even  for  bright  boys.     In 


736475 


iv  Note  to  Teachers. 

the  simplification  that  has  been  serviceably  introduced  into 
school  grammars,  prosody  has  had  due  share.  There  is, 
however,  danger  of  condensing  so  much  as  to  render  the 
subject  obscure.  Even  in  English,  the  Dactylic  Hexameter 
is  a  comparatively  difficult  metre  to  read  at  sight  with  facil- 
ity in  true  rhythm.  How  much  more  in  Latin,  where  the 
unfamiliar  and  inscrutable  quantities  must  first  be  mastered. 
With  the  purpose  of  expediting  and  facilitating  what  is  often 
a  slow  and  toilsome  process,  the  following  pages  have  been 
prepared  for  my  own  pupils,  and  for  such  others  as  may 

feel  the  need  of  a  little  help  of  this  sort. 

J.  M.  W. 

WiLLisTON  Seminary, 
Easthampton,  Mass.,  Dec.  31,  1877. 


>^3      >3       5)j       a 


AUXILIA     VERGILIANA. 


The  student  in  Latin  who  has  never  read  any  but  a  prose 
author,  Hke  Caesar,  Sallust,  or  Cicero,  needs  to  know,  as  he 
takes  up  his  first  lesson  in  Vergil,  that  poetry  differs  from 
prose  as  much  in  Latin  as  in  English. 

It  would  be  a  great  mistake  if  in  his  English  reading-book 
a  boy  were  to  read  poetry  precisely  as  if  it  were  prose,  re- 
gardless of  accent  and  of  rhythm.  It  is  no  less  a  mistake  to 
read  Latin  poetry  without  regard  to  its  metrical  structure, 
its  accent  and  rhythm. 

If,  however,  two  easy  conditions  are  complied  with,  the 
pupil  may  begin  his  Vergil,  as  poetry^  with  due  appreciation 
of  its  metrical  characteristics,  and  with  such  rapid  mastery 
of  accent  and  rhythm,  that  he  will  early  find  pleasure  in  the 
melodious  movement  of  the  verse. 

These  conditions  are  the  following : 
I.    To  learn  the  structure  of  the  verse, 

II.   To  learn  a  very  feiv  easy  rules, 

L  THE  STRUCTURE  OF  THE  VERSE. 

The  verse  in  which  Vergil  wrote  is  called  the  Dactylic 
Hexameter,  From  the  nature  of  the  subjects  treated  of  in 
the  ancient  poems  that  were  written  in  this  measure,  it  is 
also  called  the  Heroic  Hexa7neter^  or  Heroic  Verse. 


>..  ,.       2,  Aiixilia  Vergiliana ; 

«      '••  .        .'         .      .'■ 

-    V  .;    ,    c.    .  The   Latin  poets   borrowed  this   kind   of  verse  from  the 

*'\*  .*•*:  .*•':  Greeks,, and  their  earher  attempts  did  not  reach  that  degree 

of  perfection  that  Vergil  attained.     In  Hke  manner,  EngHsh 

poets  have  introduced  the  heroic  hexameter,  and  with  varying 

success.     Probably  this  kind  of  verse  is  better  suited  to  the 

Greek  than  to  the  Latin,  and  to  the  Latin  than  to  the  English. 

Two  of  the  best  recent  specimens  of  English  dactylic 
hexameter  are  presented  here.  The  first  is  from  Kingsley's 
Atidromeda,  and  the  second  from  Dr.  Hawtrey's  translation 
of  verses  234-242  of  the  third  book  of  the  Iliad. 

The  metrical  accent  is  given  here  (by  dots  under  the  ac- 
cented syllables)  to  aid  the  pupil  in  catching  the  rhythm. 

Blissful  they  turned  them  to  go ;  but  the  fair-tressed  Pallas  Athene 

Rose  like  a  pillar  of  tall  white  cloud  toward  silver  Olympus, 

Far  above  ocean  and  shore  and  the  peaks  of  the  isles  and  the  mainland, 

"Where  no  frost  nor  storm  is,  in  clear  blue  windless  abysses, 

High  in  the  home  of  the  summer,  the  seats  of  the  happy  Immortals. 

Clearly  the  rest  I  behold  of  the  dark-eyed  sons  of  Achaia  ; 

Known  to  me  well  are  the  faces  of  all ;  their  names  I  remember ; 

Two,  two  only  remain,  whom  I  see  not  among  the  commanders,  — 

Castor  fleet-in-the-car,  Polydeukes  brave  with  the  cestus,  — 

Own  dear  brethren  of  mine,  one  parent  loved  us  as  infants. 

Are  they  not  here  in  the  host  from  the  shores  of  loved  Lakedaemon  ? 

Or,  tho'  they  came  with  the  rest  in  ships  that  bound  through  the  waters, 

Dare  they  not  enter  the  fight,  or  stand  in  the  council  of  Heroes, 

All  for  fear  of  the  shame  and  the  taunts  my  crime  has  awakened  ? 

As  each  measure  in  every  kind  of  verse  has  an  accent,  the 
six  accents  in  each  of  the  above  lines,  or  verses,  show  that 
there  are  six  measures  in  each  verse. 


Or,  First  Steps  m  Latin  Prosody.  3 

Rem.  In  Latin  or  Greek  poetry,  a  line  is  called  a  verse,  from  verto^ 
to  turn  (since,  at  the  end  of  a  verse,  one  turns  to  begin  the  next). 

From  the  six  measures  of  each  verse  the  hexameter  de- 
rived its  name  (Gk.  c^,  six,  and  ixerpov,  measure). 

Each  measure  (also  called  a  foot)  is  regularly  a  dactyle, 
that  is,  a  combination  of  one  long  syllable  and  two  short  syl- 
lables (—  v^  ^)'  The  name  is  derived  from  the  Greek  word 
iorjinger  (Sa/crrXo?),  for  the  finger  is  composed  of  one  longer 
joint  and  two  shorter  ones. 

But  in  each  of  the  first  five  measures  the  poet  may  substi- 
tute for  the  dactyle  a  spondee,  that  is,  a  combination  of  two 
long  syllables  ( ).  The  principle  on  which  this  substitu- 
tion is  made  will  be  explained  presently.  The  spondee  is 
named  from  the  Greek  (nrovhri,  a  "  drink-offering "  to  the 
gods,  because  slow  and  solemn  strains  in  spondaic  measure 
were  used  in  connection  with  such  offerings. 

In  the  sixth  measure,  instead  of  the  dactyle,  the  poet  must 
use  a  spondee  (or,  as  a  substitute,  the  trochee,  composed  of  a 
long  and  a  short,  _  w). 

Latin  verse,  as  compared  with  English,  differs  chiefly  in 
requiring  its  words  to  be  so  chosen  and  so  placed  as  to 
make,  instead  of  the  rhyme  which  English  verse  commonly 
uses,  a  regular  succession  of  ^ 

Long  and  Short  Syllables. 

These  may  be  compared  with  notes  of  different  lengths  in 
music.  The  three  syllables  of  the  dactyle  may  be  written 
in  musical  notation,  thus:  J  j*  ^  The  two  long  syllables 
of  the  spondee  may  be  written  thus :  J  I  The  two  short 
syllables  of  the  dactyle  are  equal  to  the  long  one  of  the 
spondee,  just  as  in  music  -^J^  are  equal  to  J 


4  Auxilia  Vergiliana  ; 

It  takes  longer  time  to  pronounce  some  syllables  than 
others.  Latin  syllables  are  long  or  short,  according  as  the 
time  occupied  in  pronouncing  them  is  long  or  short.  A 
long  syllable  takes  twice  the  quantity  of  time  that  a  short 
syllable  takes,  just  as  in  music  J  takes  twice  the  time  of  n 
Hence  every  Latin  syllable  is  said  to  have  a  certain  quantity 
(i.  e.  quantity  of  timc)^  long  or  short. 

The  metrical  accent  in  each  measure,  or  foot,  falls  on  the 
long  syllable,  and  in  hexameter  verse  can  fall  on  no  other 
syllable.     Consequently, 

The  first  syllable  of  every  dactyle  or  its  substitute^  the  spondee^ 
receives  the  metrical  accent. 

In  English  verse  we  have  an  accent  in  every  measure,  or 
foot,  the  same  as  in  Latin,  but  English  syllables  have  no  fixed 
quantity,  as  long  or  short.  In  Latin  a  very  few  syllables 
are  conwion,  that  is,  either  long  or  short,  according  to  their 
position  in  the  verse.  But  in  English  almost  any  syllable 
may  be  treated  as  long  or  short,  according  to  its  position. 
That  is,  almost  any  English  syllable  may  take  or  avoid  the 
accent  which,  in  Latin,  falls  on  the  long  syllable  of  each  foot. 

The  following  dactylic  hexameters  illustrate  this  charac- 
teristic of  English  verse  : 

Love  thou  I  God  as  thouloughtest,  then|lovest  thou  |  likewise  thy|  brethren. 

One  is  the  |  sun  in  |  heaven,  and  |  one,  only  |  one,  is  Love  |  also. 

In  the  first  line  love  is  treated  as  a  long  syllable,  that  is, 
it  is  accented ;  but  in  the  second  it  is  unaccented,  like  a 
short  syllable.  In  the  first  line  thou  and  ought^  like  and  7vise^ 
have  no  natural  difference  from  each  other  as  long  or  short, 
but  are  lengthened  or  shortened  arbitrarily,  by  having  or  not 
having  the  accent. 


Or,  First  Steps  in  Latin  Prosody.  5 

But  in  the  following  dactylic  hexameter  every  Latin  sylla- 
ble has  its  own  fixed  quantity,  as  long  or  short : 

O  mihi  I  sola  ing|i  siipgr  |  Asty^lnactis  ijinago. 

Like  to  my  |  Astya|nax  thou  a  |  lone  on  the  |  earth  now  rejmainest. 

How  to  place  the  Metrical  Accent. 

It  is  by  recognizing  the  quantity  of  Latin  syllables  that 
we  find  the  place  of  the  metrical  accent  in  each  measure,  as 
this  accent  can  fall  only  on  the  first  syllable  of  the  dactyle, 
or  its  substitute,  the  spondee. 

The  difficulty  in  placing  the  accents  in  a  hexameter  is  due 
to  the  dactyles  and  spondees  following  each  other  in  no 
definite  order. 

The  harmonious  movement  of  hexameters  depends  on  the 
proper  blending  of  dactyles  and  spondees.  The  frequent 
recurrence  of  spondees  gives  a  slow  movement ;  of  dactyles, 
a  rapid  one.     Compare  the  following  verses  : 

Appal  rent  ratri  nan|tes  in  |  gurgite  |  vasto. 

Swimming  |  here  and  |  there  they  're  |  seen  on  |  ocean's  vast  |  flood-stream. 

Quadriipeldantg  pultrem  sdni|tu  qu^tit  |  unguis  |  campiini. 

Soundeth  the  [  hoof  as  the  |  four-footed  |  coursers  beat  |  stroke  on  the  | 

level. 

The  Four  Decisive  Syllables. 

Although  each  hexameter  must  have  six  metrical  accents, 
the  places  of  only  four  of  them  are  at  all  in  question.  The 
sixth  measure  being  always  a  spondee  (or  an  equivalent 
trochee^  _  w),  and  the  fifth  measure  in  the  great  majority  of 


6  Aiixilia  Vergiliana  ; 

cases  a  dactyle,  the  accents  of  these  two  can  be  placed  at 
sight.  To  place  the  accents  of  the  first  four,  we  only  need 
to  find  out  which  are  dactyles  and  which  spondees,  and  this  is 
found  by  finding  the  quantity  of  one  syllable  in  each  7?ieasure. 
To  find  this  at  sight,  the  following  rules  suffice. 

In  those  few  cases  where  the  fifth  measure  is  a  spondee, 
the  verse  (which  is  called  "spondaic")  is  easily  recognized 
as  such  (p.  lo,  2,  Note). 

II.     RULES    OF    QUANTITY. 

[It  is  essential  to  commit  these  Rules  thoroughly  to  memory  at  once.] 

1.  A  vowel  is  short  by  position  before  another  vowel  or  //, 
and  lo7ig  by  position  before  two  consonants,  or  x,  z,  or  J. 

2.  A  diphthong  is  long  ;  but  u  after  g  blends  with  ^,  and 
makes  no  diphthong  with  a  vowel  following. 

3.  Monosyllables  are  generally  long,  except  most  particles 
ending  in  a  consonant. 

4.  In  polysyllables  final  a,  e,  and  y  are  short ;  /,  o,  and  u 
long. 

Exc.  Final  a  and  e  are  long  respectively  in  the  ablative 
of  the  I  St  and  the  5th  declension,  and  in  the  imperative  of 
the  ist  and  the  2d  conjugation.  Final  a  is  long  in  most 
indeclinable  words,  and  final  e  in  most  adverbs  from  adjec- 
tives in  -us.     Final  /  is  common  in  inihi,  tibi,  sibi^  ibi,  ubi. 

5.  Final  -as,  -es,  -os,  and  final  syllables  in  r,  are  long ; 
other  endings  of  polysyllables  terminating  in  a  consonant 
are  short;  except  -is  in  plural  cases,  and  -21s  in  contracted 
cases  of  the  4th  declension,  and  in  those  nominatives  of  the 
3d  which  have  ii  in  the  genitive. 


Or,  First  Steps  in  Latin  Prosody.  J 

Rem.  The  additional  syllables  which  nouns  and  verbs  receive  in  de- 
clension and  conjugation  are  termed  increments,  as  in  leonis,  from  leo ; 
jiirarey  from  juro.  Here  the  o  and  the  d  are  increments.  The  last  syl- 
lable of  a  word  is  never  regarded  as  an  increment. 

6.  Increments  of  declension  in  a  and  o^  and  also  incre- 
ments of  conjugation  in  ^,  e^  and  <?,  are  long;  other  incre- 
ments are  short. 

Exc.  e  is  long  in  the  5th  declension,  and  0  is  short  in 
neuters  of  the  3d  ;  e  short  when  characteristic  of  the  3d 
conjugation,  and  also  before  -ram^  -rim,  -ro ;  i  long  when 
characteristic  of  the  4th  conjugation,  and  in  -ivi^  -ituni^  of 
the  3d  ;  /  is  also  long  in  most  words  in  -ix. 

Rem.  a  syllable  for  which  there  is  no  rule  is  said  to  be  long  or  short 
by  authority  (i.  e.  of  the  poets). 

7.  Synaloepha.  —  A  vowel  ending  a  word  is  slurred,  or 
indistinctly  sounded,  before  a  vowel  beginning  the  following 
word.     This  happens  also  in  English  verse,  as 

I  sing  j  the  almighjty  power  |  of  God, 

where  the  final  e  is  slurred  before  the  initial  ^,  so  that  only 
the  a  is  distinctly  sounded.  This  rubbing  together  of  the 
vowels  gave  rise  to  the  name  symaloepha  (oT;i/-aAct0a>,  to  rub 
together).     E.  g. 

Discite  I  jiistitilam  monilti  et  non  |  temnere  |  divos. 

Righteousness  |  learn  from  the  |  warning  and  |  deity  |  never  de|spise  ye. 

Here  the  final  i  and  initial  e  are  rubbed  together  by  the 
slurring  of  the  /,  so  that  only  the  e  is  distinctly  sounded,  but 
the  i  is  faintly  heard,  like  y  in  tyet,  pronounced  as  one  syl- 
lable.    So  in  the  following : 


8  Aiixilia  Vergilia^ia  ; 

Tu  ne  I  cede  malls,   sed  1  contra  auldentior  |  ito* 

Yield  not  |  thou  to  ill  |  fortune,  but  |  more  cour|ageou.sly  |  breast  it. 

the  a  and  au  are  pronounced  together,  the  a  being  faintly 
heard. 

8.  EdhUpsis.  —  Final  ni  and  the  vowel  before  it  are  sup- 
pressed before  a  vowel  beginning  the  following  word.  As 
there  is  nothing  similar  in  English  verse,  we  cannot  form  a 
clear  idea  how  it  was  done. 

Fata  Til  am  inveiillent,  adelrltque  volcatns  A 'polio* 

Fate  will  |  find  out  a  |  way,  and  |  Phoebus  inlvoked  will  as|sist  you. 

Probably  the  m  was  dropped  outright,  and  then  the  vowel 
before  m  was  slurred  in  combination  with  the  initial  vowel 
following,  the  same  as  in  synaloipha,  EdhUpsis  signifies 
pressing  out,  from  the  Greek  iK-OXl/Su),  to  press  out. 

Monstriim  horlrendum,  inlforme,  injgensj  cuiilumen  adiemptiim. 

Huge  and  |  horrible  j  monster,  misjshapen  |  also  and  |  eyeless. 

Application  of  the  preceding  Rules. 

This  can  be  very  simply  and  quickly  made,  if  the  follow- 
ing suggestions  are  heeded : 

1.  Bear  in  mind  that  our  object  in  every  hexameter  is  fo 
place  the  metrical  accent  on  the  proper  syllables. 

2.  As  the  metrical  accent  falls  on  the  first  syllable  of  each 
dactyle  and  spondee,  we  need  merely  to  pick  out  these  syl- 
lables. 

3.  We  can  generally  pick  out  these  accented  syllables  by 
applying  the  rules  of  quantity  just  given  to  one  syllable  in 
each  of  the  first  four  measures  in  each  verse. 


Or,  First  Steps  in  Latin  Prosody. 


4.  Thus,  although  a  hexameter  has  from  thirteen  to  seven- 
teen syllables,  the  beginner  need  question  only  about  a  third 
of  them,  in  order  to  read  the  verse  with  correct  metrical 
accent,  provided  he  first  firmly  fix  in  mind  the 

Structure  of  Hexameter  Verse. 


or 


,^^ 


I 


^  ^ 


N  N 


^  > 


^  ^ 


^ 


or 


J 


J 


We  see  from  this  at  a  glance  that  a  single  long  syllable 
can  stand  alone  between  two  shorts,  but  a  single  short  can- 
not stand  alone  between  two  longs.  So  that  if  we  find  one 
short  syllable,  we  know  that  the  syllable  before  or  after 
must  be  short  also. 

5.  As  any  one  of  the  first  five  feet  may  be  either  a  dac- 
tyle  or  a  spondee  (though  the  fifth  is  very  rarely  a  spondee), 
the  following  points  are  evident  from  the  structure  of  the 
verse : 

a.  The  first  syllable  of  every  hexameter  is  to  be  accented, 
because  it  is  the  first  syllable  of  either  a  dactyle  or  a 
spondee. 

l^.  If  the  second  syllable  of  a  hexameter  is  short,  then  the 
third  syllable  is  short,  of  course,  completing  a  dactyle,  and 
the  syllable  following  must  be  the  first  syllable  of  the  next 
foot,  with  its  metrical  accent. 

c.  But  if  the  second  syllable  of  a  hexameter  is  long,  then 
the  first  foot  is  a  spondee,  and  the  syllable  following  is  the 
beginning  of  the  next  foot,  and  accented. 


lO  Auxilia  Vergiliaiia; 

d.  From  b  and  c  it  follows  that 

The  second  syllable  of  each  foot  is  the  decisive 
syllable. 

This^  if  shorty  gives  us  the  quantify  of  the  next  tzvo  syllables  ; 
if  long,  the  quantity  of  the  next  syllable,  and,  of  course,  in 
either  case  fixes  the  place  of  the  next  metrical  accent. 

e.  When  the  quantity  of  the  second  syllable  of  a  foot  is  not 
at  once  apparent,  the  quantity  of  the  next  syllable  may  give 
the  necessar}^'  indications,  thus  : 

{a  a.)  If  the  syllable  7iext  to  the  second  of  any  foot  is  short, 
it  must  be  the  third  syllable  of  a  dactyle,  and  so  the  syllable 
before  it  niiist  be  short,  and  the  one  after  it  must  be  long  and 
accefited,  as  the  beginning  of  the  next  foot. 

{b  b.)  But  if  the  syllable  Jiext  to  the  second  of  any  foot  is 
long,  then,  as  the  structure  of  the  verse  never  admits  any 
but  a  long  syllable  between  two  longs,  the  second  syllable 
must  be  long,  completing  a  spondee,  and  the  syllable  next  the 
second  is  the  begvming  of  the  next  foot ^  and  accented, 

JSjcample. 

Nullius  addictus  jurare  in  Terba  magistri. 

1.  Cut  off  the  last  two  syllables,  -gistri,  because  the  sixth 
measure  is  always  a  spondee,  or  what  is  used  as  such. 

Nullius  addictus  jurare  in  verba  malgistri. 

2.  Cut  off  next  the  three  syllables  verba  7na-,  as  the  fifth 
measure  is  almost  always  a  dactyle. 

Nullius  addictus  jurare  in  |  verba  malgistrl* 

Note.  To  make  sure  that  the  verse  is  not  one  of  those  rare  spondaic 
verses  where  the  fifth  foot  is  a  spondee,  glance  at  the  middle  syllable  of 
the  three.     The  a  of  verba  is  seen  to  be  short  by  Rule  4.     Hence  we 


<9r,  First  Steps  in  Latin  Prosody.  ii 

know  it  to  be  the  middle  syllable  of  a  dactyle.  Had  it  been  long,  then 
the  ma-  would  have  been  known  to  be  long,  and  the  verse  would  have 
been  recognized  as  spondaic. 

3.  We  have  now  only  four  measures  left,  and  four  accents 
to  fix.     Beginning  the  verse,  then, 

The  first  syllable,  mil-,  is  long  by  Rule  i,  and  accented. 

The  second,  -//-,  we  have  always  pronounced  long  in  prose, 
but  a  glance  at  the  third,  -us,  which  is  short  by  Rule  5, 
shows  that  here  it  is  //,  which  must  therefore  be  the  middle 
syllable  of  a  dactyle.  We  shall  learn  that  these  genitives  in 
-ius  often  have  the  penult  short  in  poetry.  The  first  meas- 
ure, then,  is  ntdliiis. 

Nullius  {  addictus  jurare  in  |  verba  malgistri. 

The  first  measure  being  now  marked  off  and  accented  on 
its  first  syllable,  a  glance  shows  us  that  the  next  measure  is 
a  spondee,  dddic-,  both  vowels  long  by  Rule  i. 

Nullius  I  addicltus  jurare  in  |  verba  malgistri. 

-tus,  beginning  the  third  measure,  is,  of  course,  long,  and 
accented.  The  next  syllable,  ju-,  being  uncertain,  we  look 
at  the  following,  -ra-  (see  Rem.  e,  p.  10).  This  is  seen  to 
be  long  by  Rule  6,  consequently  the  jU  must  be  the  second 
half  of  a  spondee  (p.  10  {bh) ),  and  the  -rd-  is  the  long 
accented  syllable  of  the  fourth  measure.  This  measure  con- 
tains three  vowels,  but  the  final  e  disappears  by  Rule  7, 
leaving  the  in  as  the  second  half  of  a  spondee. 

The  accent  of  each  measure  is  now  fixed,  and  the  verse 
has  been  thus  divided  and  accented  : 

Nulllius  I  addicltus  julrare  In  |  verbS.  malgistri. 

Bound  to  o|bey  the  j  dictate  of  |  none  that  |  fain  would  be  |  master. 


12  Auxilia  Vergiliaiia  ; 

CAUTION. 

While  learning  thus  to  fix  the  place  of  the  metrical  accent, 
it  will  be  better  for  the  pupil  to  mark  off  the  measures  and 
accents  of  each  verse  as  above.  But  it  should  not  be  read 
in  this  broken  way  : 

Nullius  addic  tusju  rarein  verbama  gistri. 

After  having  marked  the  quantities  and  accents  in  each 
day's  metrical  lesson,  the  lesson  should  be  read  over  several 
times,  until  it  can  be  read  with  complete  fluency,  pronoun- 
cing each  word  by  itself  with  the  metrical  accent  or  accents 
that  belong  to  it.     In  this  reading  special  attention  should 

be  paid  to  the 

Caesura. 

Caesura  (from  ccedo,  to  cut)  is  such  a  cutting  of  a  verse  in 
two  as  to  interpose  a  suitable  rest  without  injury  to  sense  or 
harmony. 

The  usual  place  for  the  caesura  is  after  the  accent  of  the 
third  measure.     This  is  the  so-called  "  heroic  caesura." 

The  caesura  sometimes,  however,  follows  the  accent  of  the 
fourth  measure  ;  or,  when  the  third  is  a  dactyle,  it  may 
occasionally  come  between  the  two  short  syllables  of  that 
dactyle. 

In  the  verse  last  quoted  the  caesura  follows  the  accent  of 
the  third  measure. 

Nullius  adclictus'  jurare  in  verba  magistri. 

Examples  for  Practice. 

To  familiarize  the  pupil  with  the  method  of  metrical 
analysis  that  has  been  explained,  a  few  verses  are  subjoined 


Or,  First  Steps  in  Latin  Pivsody.  13 

for  experiment.     The  translation  of  each  is  given  in  English 
hexameter.     The  place  of  the  caesura  is  marked  '. 

1.    Cura  pii  dis  sunt',  et  qui  coluere  coluntur. 

God  takes  care  of  the  pious' ,  and  they  who  worship  are  cherished. 

This  is  a  specimen  of  one  of  the  easier  lines.  After  the 
fifth  and  sixth  measures  are  cut  off,  every  accent  can  be 
placed  at  sight  by  Rules  1  and  4. 

2.    Tros  Tyriusque  miM'  nullo  discrimine  agetur. 

Trojan  and  Tyrian  here'  shall  by  me  be  impartially  treated. 

Not  much  more  difficult  than  No.  i.  Tros  is  accented,  of 
course.  The  quantity  of  Ty-  not  being  obvious,  we  glance 
at  the  third  syllable,  -r/,  which  is  short  by  position.  So  Ty- 
is  known  to  be  short,  and  the  first  measure  is  a  dactyle. 
Next,  -usque  mi-  is  a  dactyle,  by  Rules  i  and  4.  Next, 
-hi  nul-  and  -Id  dis-  are  spondees,  by  the  same  rules,  and  four 
measures  are  complete.  Striking  off  now  the  sixth  measure, 
-getur,  only  -crimine  a-  is  left,  for  the  fifth,  in  which  the  final 
e  is  combined  with  initial  a  by  Rule  7. 

3.    Hos  successus  alit';    possunt,  quia  posse  -videntur. 

These  by  success  are  inspired' ;  they  conquer,  because  they  expect  to. 

After  striking  off  the  fifth  and  sixth  measures,  Rules  i 
and  4  are  sufficient  also  for  this  verse.  Observe  that  the 
quantity  of  a-  in  alit  is  revealed  by  the  two  preceding  sylla- 
bles, -cessiis,  which  require  another  short  to  complete  the 
dactyle. 


14  Auxilia  Vcrgiliaiia ; 

4,  Stella  facem  ducens'  multa  cum  luce  cucurrit. 

Drawing  a  train  of  light'  abundant  there  darted  a  meteor. 

Here  the  quantity  oi  fa-  is  revealed  by  the  preceding  long 
and  short  {stella),  which  require  another  short  to  make  up 
the  dactyle  (p.  lo  (^  a)).  Next,  the  quantity  of  dii-  is  re- 
vealed by  the  following  -ens  (p.  \o  {b  h) ).  In  this  verse  and 
in  No.  3  the  fifth  measure,  presumably  a  dactyle,  may  be 
shown  to  be  such  by  first  marking  off  its  three  syllables  (as 
on  p.  lo,  2,  Note)  and  then  proving  the  middle  syllable 
short  by  Rule  4.  Do  the  same  in  the  two  following  verses, 
before  analyzing  the  first  four  measures. 

5.  Hen!    nihil  inviti's  fas  quemquam  fidere  divis. 

No  one,  alas' !  may  rightly  trust",  if  God  do  oppose  him. 

6.    Ne,  pueri',  ne  tanta  animis"  adsuescite  bella. 

Do  not,  O  youths,  such  thought'  of  strife  to  your  minds  make  familiar. 

Note.  Before  the  metrical  analysis  of  any  verse,  look  to  see  if  any  of 
the  final  syllables  are  disposed  of  by  Rules  7  and  8,  as  the  final  a  before 
aniniis  in  the  last  verse. 

Observe  in  No.  5,  English,  that  the  caesura  is  fixed  at  the 
fourth  measure  by  the  logical  pause,  which  must  be  made 
at  the  comma.  When  the  ccesura  comes  thus  in  the  fourth 
measure,  a  minor  caesura  is  often  made  in  the  second,  as 
after  alas  in  No.  5. 

In  the  following,  the  major  and  the  minor  caesura  fall  (in 
the  Latin)  precisely  as  in  the  English  of  No.  5. 


Ory  First  Steps  in  Latin  Prosody.  15 

7.    Sic  oculos',   sic  ille  manus",   sic  ora  ferebat. 

Eyes  thus,  hands  thus  he  moved',  and  thus  his  countenance  also. 

In  the  analysis  of  this  verse,  the  quantity  of  the  first  two 
syllables  of  oculos  not  being  given  by  our  rules,  let  us  try  the 
verse  backwards,  to  illustrate  an  occasional  expedient. 

The  sixth  measure,  -ebdi,  we  cut  off  at  once,  and  the  fifth 
is  recognized  as  a  dactyle,  as  in  2  (p.  10,  Note),  by  the 
short  a  in  ord^  which  settles  the  quantity  both  of  the  syllable 
before  and  the  syllable  after.  Next,  the  fourth  measure  is 
fixed  as  a  spondee  by  our  Rules,  -nus  sic.  We  examine  the 
three  syllables  next  preceding,  ille  ma-,  and  as  the  l  and  the 
e  tell  their  quantity  at  a  glance,  we  know  that  the  md-  is 
short,  and  the  measure  a  dactyle.  There  are  but  five  sylla- 
bles left  in  the  verse,  just  enough  to  make  a  dactyle  and  a 
spondee,  -os  sic  are  both  long,  by  rule,  therefore  the  dactyle 
is  in  the  first  measure,  stc  ocu-. 

In  this  instance  oculos  happens  to  be  a  familiar  word,  the 
quantity  of  which  most  pupils  would  have  no  doubt  of.  Bit 
the  method  which  it  illustrates  of  analyzing  the  verse  back- 
ward will  often  help  one  out  of  an  uncertainty. 

8.    O  passi  gra-viora',  dabit  deus  his  qnoque  finem. 

Ye  who  worse  things  have  suffered',  to  this  also  God  will  an  end  make. 

This  verse  gives,  both  in  Latin  and  in  English,  an  exam- 
ple of  the  caesura  falling  between  the  two  unaccented  sylla- 
bles of  the  third  measure. 

SUGGESTION. 

The  learner  is  advised  to  commit  to  memory  all  the  Latin 
and  English  verses  that  have  been  given,  and  to  repeat 


1 6  Atixilia  Vergiliana ;    * 

them  frequently,  with  the  metrical  accents,  until  they  have 
become  perfectly  familiar.  When  the  ear  has  been  trained 
to  catch  the  metrical  accent,  and  to  follow  the  rhythmical 
movement  of  verse,  an  ease  in  reading  and  a  pleasure  in 
the  harmony  are  derived,  which  abundantly  compensate  the 
labor  bestowed. 

Committing  to  memory  select  passages  in  verse  —  a  prac- 
tice so  common  formerly  —  will  prove  of  service  both  in 
training  the  ear  to  rhythm  and  in  facilitating  Latin  com- 
position. 

Such  passages  are  the  sz'mzVes,  like  the  "Ac  veluti "  (^n.  i. 
(148-156),  or  the  "Qualis  apes"  (^n.  i.  430-436),  or  the 
death  of  Laocoon  (JEn.  ii.  212-224),  a  passage  specially 
worth  knowing  on  account  of  the  frequency  with  which  we 
meet  its  visible  representation  in  statuary.  One  might  make 
a  beginning  with  the  lines  in  the  eighth  Eclogue  (37-42), 
which,  as  Macaulay  tells  us,  Voltaire  pronounced  the  finest 
passage  in  Vergil,  and  which  Macaulay  himself  declared  to 
be  the  finest  lines  in  the  Latin  language : 

*'Sepibus  in  nostris  parTam  te  roscida  mala  — 
I>ux  ego  vester  eram  — vidi  cum  matre  legentem. 
Alter  ab  undecimo  turn  me  jam  acceperat  annus; 
Jam  fragiles  poteram  ab  terra  contingere  ramos. 
Ut  vidi,   ut  perii !    ut  me  malu8  abstulit  error ! " 


TO    TEACHERS. 

Although  Latin  versification,  as  a  school  exercise,  has 
been  carried  to  an  extreme  in  England,  yet,  while  the  best 
American  schools  still  make  so  much  of  Latin  prose  compo- 


Ory  First  Steps  in  Latin  Prosody.  17 

sition,  I  doubt  whether  we  are  right  in  heeding  those  who 
claim  that  Latin  versification  is  a  bit  of  useless  pedantry, 
and  therefore  to  be  let  alone. 

For  the  benefit  of  teachers  who  are  disposed  to  think 
that  a  limited  amount  of  exercise  in  Latin  versification  may 
help  their  advanced  pupils  to  a  better  appreciation  of  Latin 
poetry  and  poets,  the  following  method  is  suggested  for 
w^eekly  practice. 

Single  verses  or  couplets  may  be  selected,  in  which  the 
words  are  familiar,  the  construction  plain,  and  the  sense 
complete.     For  example  (^'F^n.  xii.  238,  239) : 

**Talibus  incensa  est  juvenum  sententia  dictls 

Jam  magis  atque  magls,   serpitque  per  agmina  murmur." 

The  translation  should  be  written  on  the  board,  line  for 
line,  and  at  first  some  of  the  Latin  words  (on  account  of  the 
variety  of  synonymous  expressions)  should  be  given  to  the 
class. 

incensa  est     sententia 

With  such  words  was  fired  the  feeling  of  the  youths 

serpitque  agrmina 

Now  more  and  more,  and  (there)  creeps  through  the  ranks  a  murmur. 

As  the  exercise  continues,  less  help  will  need  to  be  given,  as 
in  these  lines  (Juv.  Sat.  iii.  29,  30,  Anthon's  ed.)  : 

**  Cedamus  patria,   vivant  Artorius  istic 
£t  Catulus,   maneant  qui  nigrum  in  Candida  vertunt." 

Cedamus 

Let  us  withdraw  from  our  country,  let  Artorius  live  there, 

maneant  plural  plnral 

And  Catulus,  let  them  stay  who  turn  black  into  white. 


1 8  Atixilia    Vei'giliana. 

Before  long,  the  class  can  take  three  or  four  lines,  with 
trifling  help,  or  may  do  without  help  such  examples  as  the 
following  (Ovid.  Met.  xv.  663,  664)  : 

*'  Extemplo  cum  voce   deus,   cum  voce   deoque 
Somiius  abit,  somnique  fugam  lux  alma  secuta  est." 

After  a  dozen  weekly  exercises  of  this  sort,  I  have  known 
very  fair  poems  of  a  score  of  lines  to  be  written  in  com- 
petition for  a  prize. 


Cambridge  :  Electrotyped  and  Printed  by  Welch,  Bigelow,  &  Co. 


ALLEN  &  GREENOUGH'S  LATIN   GRAMMAR. 


The  first  edition  was  published  in  1872,  and  was  widely  adopted,  reaching  a 
sale  of  over  jo,ooo  copies.  In  1877,  the  editors  completed  a  revision,  which  has 
made  it  virtually  a  fiew  work  while  retaining  all  the  iinportant  features  of  the  old. 
Attention  is  invited  to  the  foUowino^  merits  of  the  book ; 

I.  The  Supplementary  and  Marginal  Notes  on  Etymology,  Comparative  Philol- 
ogy, and  the  meaning  of  forms.  In  this  department  it  is  believed  to  be  more  full 
and  complete  than  any  other  school  text-book,  and  to  embody  the  most  advanced 
views  of  comparative  philologists. 

2.  Numerous  Introductory  Notes  in  t/ie  Syntax,  giving  a  brief  view  of^  the  theory 
of  coftstructions.  These  Notes  are  original  contributions  to  the  discussion  of  the 
topics  of  which  they  treat ;  they  illustrate  and  greatly  simplify  syntactical  construc- 
tion, and  are  not  based  upon  abstract  theory,  or  "  metaphysics  of  the  subjunctive," 
but  upon  linguistic  science,  or  upon  the  actual  historical  development  of  language 
from  its  simplest  forms. 

3.  Treatment  of  Special  Topics  of  Syntax.  On  these  points  we  invite  compari' 
son  with  other  school  grammars  on  the  score  of  simplicity  and  clearness. 

4.  The  extended,  and  often  complete,  lists  of  forms  and  constructions, 

5.  Tabulated  examples  of  peculiar  or  idiomatic  use. 

6.  The  full  and  clear  treatment  of  Rhythm  and  Versification,  corresponding 
with  the  latest  and  best  authorities  on  the  subject. 

7.  The  unusual  brevity  attained  without  sacrifice  of  completeness  or  clearness. 
This  Grammar  expresses  the  results  of  independent  study  of  the  best  original 

sources.  It  has  been  strictly  subordinated  to  the  uses  of  the  class-room  through  the 
advice  and  aid  of  several  of  our  most  experienced  teachers.  The  rapid  adoption 
of  this  Grammar  in  over  three-fourths  of  the  leading  colleges  and  preparatory  schools 
oftlie  country  is  believed  to  be  a  full  guaranty  for  its  adaptation  to  the  purposes  of 
instruction. 


ALLEN  k  GREENOUGH'S  LATIN  COURSE. 


Iieighton's  Latin  Lessons  (designed  to  accompany  the  Grammar). 

Six  Weeks'  Preparation  for  Reading  Caesar  (designed  to  accompany 
the  Grammar,  and  also  to  prepare  pupils  for  reading  at  sight). 

Allen  &  Greenough's  Caesar,*  Cicero,*  Virgil,*  Ovid,*  Sallust,  Cato 
Major,  Latin  Composition,  Preparatory  Latin  Course,  No.  H. 

(with  Vocabulary),  containing  four  books  of  Caesar's  Gallic  War,  and  eight 
Orations  of  Cicero. 

Keep's  Parallel  Rules  of  Greek  and  Latin  Syntax. 

Allen's  Latin  Reader.    Selections  from  Caesar,  Curtius,  Nepos,  Sallust,  Ovid, 

Virgil,  Plautus,  Terence,  Cicero,  Pliny,  and  Tacitus.     With  Vocabulary. 
Cro-well  &  Richardson's  Brief  History  of  Roman  Literature. 
CroTvell's  Selections  from  the  Less  Kno-wn  Latin  Poets. 
Stickney's  De  Natura  Deorum. 
Allen's  (F.  D.)  Remnants  of  Early  Latin. 
Leighton's  Critical  History  of  Cicero's  Letters. 
Leighton's  Elementary  Treatise  on  Latin  Orthography. 
"White's  Junior  Student's  Latin-English  Lexicons. 

*  With  or  without  Vocabulary. 

A  Full  Descriptive  Catalogue  mailed  on  Application. 

GIO  &  HEATH,  Publishers,  Boston,  New  York,  and  Chicago. 


GREEKJEXT-BOOKS.    " 

prepanng/or  colUg"  *  "'"^  '''•""'^'*.  "'"'S  '/«'«/  «^ari  to  tlwse  who  are 

The  sections  on  the  Syntax  of  ft   vJh^       of  Greek  Gramtnar. 

Ji^st  time  in  an  elemmlar/form       ""'f'"^''  ''"tlnces.  wh.ch  appears  now  for  tlii 

^"^S;,c  cSw/r/S^L"/!"  '"'^''""^  -"'iO'arenoifouni  in  tHe  strictly 
"^""fe'fk  SSma''r^''°''^   '"   '^'^'''^    P-P-ed  to  acco„,pa„y  Goodwin's 

complete  Vocabularies.  Tlie  LessonTnV^!,  Add,„ona  Exercises  on  Forms,  and 
order  of  arrangement  of  he  cSr,^"  ar  h„f  k  "">' ?'''"''="^' ^'"'  do  not  follow  the 
second  Lessonrand  then  pursue  "tSnatelvSS,  ,h' .''"/'f.  "^ ''''= '"''  ^^i*  'he 
speech.    It  contains  enough  GreeiPro"com/ostftt     ,         '■'^"^'"'"g  Parts  of 

Leighton's   Greek  Lssoias.     PrZiTT        ""'"""' ''"''^'- 
Grammar.  i^reparea  to  accompany  Goodwin's    Greek 

A  progressive  series  of  exerci^p-?  rhr.f\.  r-      i 

sufficient,  ,t  IS  believed,  to  develop  the^enera^^^  °"  ^^e  Moods  are 

Goodwin  &  White's  First  Falr-^    P^^^'Pies  as  stated  in  the  Grammar. 
Goodwin's  Greek  Refdlr  ^°^'  °^  *^^  Anabasis. 

basis.     Also,  selections  from'pTl^  Hp'i^P!  ^"^  l^"^"^  ^ooks  of  the  Ana- 
full  amount  of  Greek  Prose  reqSfS-.S"''  ^""^  Thucydides ;   being  the 
Goodwin's  Selections  /ro^  '''^  ^°' ^^'"'^^•°"  ^*  H'^-^^d  University! 

first  four  books'o?Snil?s^  ^e  g?e?tl°?ar?o?th''"^°^°^^  -"^-- ^^« 

H-eSl^^-^P^^"'  -^  —  ^--"e  sTxrh.1eVlrh!rd^eith^^^^^^^^^^ 

Anderson's  First  Three  Books  of  Homer's  Diad 

Goodwin's  Greek  Moods  and  Tenses     r- 

prmciples  which  govern  the  constrnrtinn  ?>!\v,    ^^^  f  P'^'"  statement  of  the 

TarbpTi'l  n     f  ^°^etheus  of  iEschylus. 
na^s^s  Public  °^"  °^  I^e^^osthenes^ 
Tyllf'l  lowS  ^^^^eues  of  Demosthenes. 

F  n    Ai,^?'PJi^  Tyrannus  of  Sophocles 
ci^*  4H®"«  Medea  of  Euripides 

guages.  Rliythmic  and  Metric  of  the  Classical  Lan- 

Liddell  &  Scott's  Greek-En/»iicT,  t  «^- 

A  Fun  n»  .  Leaoons.    Abridged  and  Unabridged. 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

LOAN  DEPT. 

This  book  is  due  on  the  last  date  stamped  below,  or 
on  the  date  to  which  renewed. 

Renewed  books  are  subject  to  immediate  recall. 

3May'Q3SS| 

..         ...-      .^-=-«OHi^        '("1*^ 

\ 

•     'jiAi'  2,3  ^^^*- 

1 

^^%ir.!?ol-lUr                  vJ^S^^r-a. 

syracijse,  jn.  y. 

PAT.  JAN  21,  1508 


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